‘Fanfare Liturgiques’ by Henri Tomasi depicts narrative of redemption

Henri Tomasi wrote Fanfare Liturgiques as part of his opera Don Juan de Mañara; the work had its premiere in 1947 in Monte Carlo, where Tomasi had recently become conductor of the city’s opera company. The fanfares were published in 1952, although the full opera did not have its premiere until 1956 (in Munich). ‘

The first fanfare begins with a brilliant acclimation in the horns, but a somber lyric section follows, with a brief recall of the opening theme at the end. The second is statelier, with prominent timpani; a dramatic solo trombone recitative takes over, leading to a solemn close. The third depicts the Horsemen of the Apocalypse galloping with a menacing edge, at a confident, aggressive pace. The theatrical final fanfare, as long as the other three combined, comes from a scene in the opera that takes place in Seville during a Holy Week procession, when a heavenly voice sings to the opera’s protagonist, Miguel Mañara, lifting his spirits after the death of his wife. 

(Members of the Civic Orchestra’s brass and percussion sections, led by CSO trombone Michael Mulcahy, will perform Tomasi’s Fanfare Liturgiques in a concert March 3 at Symphony Center.)

Based on a play by French poet Oscar Milosz, Tomasi’s Don Juan de Mañara is set in 17th-century Seville, Spain. The story is inspired by the biography of Don Miguel Mañara Vincentelo de Leca, who, through the innocence, purity and love of a woman named Girolama, turns away from a life of depravity to marry her. Shortly after their marriage, Girolama dies, and Miguel becomes a monk, devoting his life to charity and good works.

The opera begins in percussive mystery, and gradually grows in dynamics and intensity under the impassioned pleading of the Spirit of Heaven, as the procession approaches. It fades into calm for an ardent chorale, over which the voice soars again, concluding in a spiritual ecstasy that reminds us of Tomasi’s abiding interest in medieval religious music.

Born in Marseille, France, Tomasi (1901-1971) began music lessons early; as a teenager, he played piano professionally in hotels, restaurants and cabarets. Delayed by World War I, he entered the Paris Conservatoire late. While there, he won a Prix de Rome for a cantata and the first prize in orchestral conducting; conducting and composition would retain almost equal in his activities throughout his career.

The first fanfare blazes to immediate life, but a somber lyric section follows, with a brief recall of the brilliant opening at the end. The second is statelier, with prominent timpani; a dramatic solo trombone recitative takes over, leading to a solemn close. The Horsemen of the Apocalypse gallop at a menacing edge, at a confident, aggressive pace.

The suitably theatrical final fanfare, as long as the other three combined, comes from a scene in the opera that takes place in Seville during a Holy Week procession, when a heavenly voice sings to Miguel Mañara, lifting his spirits (he was depressed by the death of his wife). It begins in percussive mystery, and gradually grows in dynamics and intensity under the impassioned pleading of the Spirit of Heaven, as the procession approaches. It fades into calm for an ardent chorale, over which the voice soars again, concluding in a spiritual ecstasy that reminds us of Tomasi’s abiding interest in medieval religious music.

Within the catalog of his instrumental writing, Tomasi displayed a penchant for wind instruments. His first composition, a quintet for winds, was indicative of this preference; Tomasi’s concerti for flute, oboe, clarinet, bassoon, horn, trumpet, trombone and saxophone remain valuable additions to each instrument’s repertoire. His affinity for winds, coupled with a love of drame lyrique, provided an expressive nexus from which emerged what is now know as Fanfares Liturgiques.

Unquestionably tonal in nature, Tomasi’s musical setting of Milosz’s story received criticism from some of his contemporaries who championed the avant-garde. Their criticism stood in vivid contrast to the central tenet of Tomasi’s musical language as expressed by the composer himself: “Although I haven’t shirked from using the most modern forms of expression, I’ve always been a melodist at heart. I can’t stand systems and sectarianism. I write for the public at large. Music that doesn’t come from the heart isn’t music.”

Although the opera did not receive a staged performance until 1956, a “concert performance” of music from the work was presented in 1947. This performance of music from Don Juan de Manara was arranged into four movements (originally called Fanfares Concertantes) and scored for three trumpets, four horns, four trombones, tuba, timpani and two percussionists. 

Tomasi’s work for brass and percussion is symphonic in form and demonstrates the musical depth already evident in the composer’s output. The first movement, Annonciation, is taken from the first scene of Act III in which Miguel renounces his past life. The shortest of the four movements, its fiery first theme is counterbalanced with an introspective second theme. In a nod to sonata-allegro form, the first theme returns at the end of the movement.

The second movement, Evangile, evokes Miguel’s reading of sacred text later in Act III. Typical of a symphony’s third movement, Apocalypse is a scherzo depicting an aged Miguel’s struggle as he confronts a final temptation by the Earth Spirit. Procession du Vendredi-Saint, the fourth and final movement, recalls an earlier scene from Act II.

After Girolama’s death on Holy Thursday, a procession passes by, as the Spirit of Heaven sings to a grief-stricken Miguel. The Dies Irae plainchant serves as an ostinato for the penitential procession, but gives way to a Corsican hymn signifying Miguel’s ultimate redemption.